The Urgency, the new DVD release from Extreme Animals (Jacob Ciocci and David Wightman), is a "visual album," like Beyoncé by Beyoncé, but any similarity to Beyoncé begins and ends with format. Beyoncé is too serious, too straight—the wrong kind of urgency. Her hooks have never found their way into the pop-punk power ballads of Extreme Animals, which mix club disco, heavy metal, and chiptunes with maximalist, strobing montage.

If there's a diva who is muse to the duo, it's the fickle Katy Perry, whose songs are sampled on two of The Urgency's eight tracks. Inspirational Katy Perry, who dedicates a rousing anthem to everyone who has ever felt like a plastic bag. Party girl Katy Perry, who gets wasted every Friday night. Bisexual Katy Perry who kissed a girl and liked it and wants to see your peacock-cock-cock. Dom/sub Katy Perry who yearns to be poisoned by aliens and is also the tiger who you will hear roar.

Aleksandra Domanović used to own an international sampler of domain names: aleksandradomanovic.sk, aleksandradomanovic.rs, aleksandradomanovic.si, aleksandradomanovic.eu. It's usually enough for an artist or other public figure to claim their name on .com, and Domanović did, but by staking out real estate in the top-level domains governed by Slovakia, Serbia, Slovenia, and the European Union she reminded herself, and anyone else paying attention, about the friction of states and networks, names, and domains. Domanović was born in Yugoslavia, and when it was gone her citizenship drifted. If for some of its users the World Wide Web appears boundlessly ephemeral in comparison to the permanence of statehood, in Domanović's experience of recent history, states and domains alike are tools of control that can be surprisingly fragile and flexible.

Last month, DIS Magazine made The Suzanne Geiss Company, a gallery in downtown New York, an open photo studio. Don’t worry if you missed it. There wasn’t much to see. The first time I went, the main gallery was empty, save for some dark bags on the floor. In the office, a few people chatted and looked at a laptop. “The photographer is on break,” they told me. “Come back in an hour.” I did. It was just as deserted. (Later, I learned that Frank Benson was taking photos in the dark back room, to avoid interference from the main gallery’s skylight.) I returned a few days later, on a Sunday morning when the editors of DIS were there. One of them was polishing a prop fridge. An intern busied herself with a vacuum.

But the substance of the show wasn’t what was happening in the gallery but the result of it: disimages.com, a fully functional online stock-photo database. The project received its initial funding in the 2011 cycle of Rhizome Commissions, and once DIS secured the rest of the necessary capital and set up the site’s framework, they started production at Suzanne Geiss. disimages.com will continue to expand its offerings as the contributing artists finish retouching their work. For now, visitors can peruse Shawn Maximo’s surreal interiors, where domestic spaces are enclosed by planes of sky and beach; Ian Cheng’s 3D renderings of heads with the DIS Images logo mapped over their contours; and Katja Novitskova’s insertions of safari animals and Powerpoint clip art in white-cube galleries.

Katja Novitskova, from Future Growth Approximations, 2013

DIS Images marks a significant shift in the way artists approach stock photography. Onlines image databases proliferated in the ...

It seems like artists who were actively making and showing their work online a few years ago have either started making objects and pursuing the familiar career path of the artist—gallery shows, teaching engagements, studio assistantships, grants, and so on—or they gave up and went into another field, like programming or web design. You haven’t done either of those things. You’re still making internet art. What’s that like?

its really weird brian

like really really weird

lemme give you a few reasons why my life has ended up like this, and also a few reasons why its weird

um i mean to be honest the first reason i dont show really is because being around gallery people for more than 5 or 10 minutes without being absolutely shitfaced is literally (Literally) in my top 3 least favorite things in the entire world.

teaching could be cool? i actually love the idea of molding (moulding?) young minds but how does one start this career path? maybe you can give me some pointers. even in an [ed.] if you'd like. [I think you’d have to get an MFA. But based on your answers I don’t think you’d like being in an MFA program. – BD]

assistantships are the same deal as showing- artists are gross, both mentally and physically (trust me on this, i am one) and i like making actual money

which brings me to why i dont make objects: im poor

so maybe i should apply for grants? is that how artists get money to work? i have no idea im really bad at the art thing, except that my work looks really nice and makes a lot of cute girls super happy.

ok so its weird because when im at an opening or out with new people they always say OH WHAT KIND OF ART DO U MAKE and i always say UHH I TAKE OTHER PEOPLES SHIT OFF THE WEB AND CHANGE IT A LITTLE BIT AND CALL IT ART and its awk my g, so awk.

another reason why its weird is because i get super wasted with a lot of like "cool" and "up and coming" artists on the regs and being the net guy/ coolest person in the room is like, pretty exhausting u know?

i just wanna use this space to say plz dont remove any of the swearing from the interview, ive waited a very very long time for this

also plz dont correct any spelling or punctuation, they arent mistakes (im just that cool)

Installation view of pΓσ₠§§℩η⅁ at the Goethe-Institut Library. Photo courtesy of Jenny Jaskey

The mission of the library could be described as calibrating the optimal ratio of signal to noise, by eliminating as much noise as possible. This description would cover both shushing and the extensive cataloguing that eases readers’ paths to the information they want. But what becomes of that mission when so many people carry a gateway to vast expanses of knowledge in their pockets (even if they mainly use that gateway to take selfies and play Angry Birds)? Does the library of bricks, mortar, and bound books effectively bracket the search for information by offering a specific set of physical resources, with a corresponding language of signals? Or is it yet another backdrop for selfies and Angry Birds—the constant noise of everyday life?

This fall the Goethe-Institut Library, an outpost of the German cultural ministry in SoHo, enlisted curator Jenny Jaskey to organize “The End(s) of the Library,” a year-long series of artists projects that rethink the library’s mission. common room redesigned the floor plan to open up space and introduced a modular exhibition apparatus; David Horvitz established an electronic archive of artists’ books—both scanned works on paper and ebooks—to supplement the Goethe-Institut Library’s catalogs both here and in Europe. The latest project is pΓσ₠§§℩η⅁, a collaboration by Juliete Aranda, Fia Backstrom, and R. Lyon that directly tackles questions of signals and noise. They began by processing the library’s raw database through Safari 5.0.5 and printing out the results, in which catalog entries are cluttered and stretched by symbols and glyphs—representations of the metadata that the computer needs to process catalog entries. A reading was held on January 5 where participants vocalized the print-outs, glyph ...

Hi,I've been working on an exhibition of splash pages made for Rhizome from 1997 to 2002 scheduled to go online at the end of the month. Of the forty artists who contributed, two seem to have totally vanished from the internet in the last ten years:

If anyone has leads on who they are or where I can get info on them, I'd really appreciate it. Also, some extra info on Matt Hoessli of o0o0o0o0o0o0o0o0o.org or Nettmedia, the design company, would be useful, but not necessary.

I don't agree that this show is a break from the dominant narrative of art history. It’s just a retelling of the dominant narrative with cards on the wall telling us, for instance, that Jasper Johns was stationed in Japan during the Korean War, as if that’s enough to persuade us Asian art and thought were important influences in his work. Sure, it's unusual for one historical survey to include both David Smith and Yoko Ono, but they're kept in separate compartments, just as they would be in a standard textbook.

And I don’t agree that Munroe’s curatorial stance is strong and decisive. It’s extremely vague, because that’s the only way she could have shoehorned such a diverse group of artists into a single show, and it’s the only way she could avoid addressing all the tough questions that Caitlin brings up in the penultimate paragraph.

I had a good time when I went to this show. It has some real gems; the 1935 film of a Martha Graham dance and the Harry Smith animation are going to stay with me for a long time, and all the works that Caitlin describes in depth are great. But on the whole “The Third Mind” is a light, tourist-friendly show that’s typical of a Guggenheim survey —familiar but with a twist, and very didactic—and the curatorial work doesn’t deserve such effusive praise.

Tom, I don't agree that my statements about Murata would also apply to the other three videos we're discussing. Especially the one about the "radical deceleration," since that's in reference to Timewarp Experiments, a work that doesn't use the pixel bleed effect.

The other two might apply to Kanye. When I watched the Kanye video I thought the director also saw the effect's potential to evoke time's passage and used it to visualize introspection, in an attempt to add some depth to an otherwise insipid song. (“his daughter’s got a new report card/ I got a new sports car”? N-word please.) But in Untitled (Pink Dot) Murata uses Rambo because he's a shortcut signifier of dynamic action, and he uses "drony" music and minimal abstract animation because they're static, and the work as a whole is about the tension between those qualities. Kanye's video is about Kanye and nothing else. The visual effects and their psychological associations are backdrops for the Kanye show.

I think the Paper Rad/Davis video is about something else entirely. The Rihanna vs. Cranberries match is like the famous Cristina Aguilera/ Strokes mashup (http://www.youtube.com/watch?v=ShPPbT3svAw), but it uses the pixel bleed as a more striking way than regular old montage to illustrate the songs' overlap (and then the shifts to the weird YouTube videos). So I wouldn't say it has much to do with temporality. Maybe it's more like a visualization of the brain trying to catch up with eyes and ears as they flip through different media.

In the Chairlift video the pixel bleed just comes off as gimmicky eye-candy.